Héloïse bursts into the frame with her shoulders to the camera. She wears a long dress; it billows gently as she walks outside her house in 18th century Brittan...
When Austrian farmer Franz Jägerstätter (August Diehl) glances skyward and calls for God to show him a sign, to guide him, what does he hear? The rumbling of a ...
Akiko’s Buddhist hostel has a message for its visitors, a laminated card sitting on a window sill: “Leave no trace, no face. In fact, leave only a presence, a f...
The zombies hobbling around the streets of the fictional, bucolic US city of Centerville have been awakened by global warming (specifically, from the ruthless f...
In 2017, by the time the Chinese government began to furiously clamp down on the country’s live-broadcasting frenzy, a whopping 422 million Chinese regularly tu...
“I lose my keys every other week. I’m a fraud of a person. Do you see me raising a kid?” When Vir finds out she’s pregnant, early into Carlos Marqués-Marcet eng...
The kids roaming around the streets of Naples in Claudio Giovannesi’s Piranhas snort cocaine, hang out with hookers, and fire assault weapons. They are the bare...
Simon died, or perhaps he killed himself. His car raced through a wintry country road, span, crashed. None of the 215 inhabitants of his native Quebecois hamlet...
What exactly are Johnno and Spanner? There are moments when the two Scottish teens hate each other’s guts with bilious fervor, others when they’re the...
Standing tiny before a vaguely impressed crowd, fake snowflakes pouring down a semi-deserted hotel hall a few meters away from a stretch of the Bosnian coastlin...
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
